During this unprecedented time which has seen the closure of theatres, cinemas and schools, the National Theatre today announces new initiative National Theatre at Home providing access to content online to serve audiences in their homes. Audiences around the world can stream NT Live productions for free via YouTube, and students and teachers have access to the National Theatre Collection at home, delivered in partnership with Bloomsbury Publishing.
From Thursday 2 April, a number of productions previously screened in cinemas globally as a part of National Theatre Live will be made available to watch via the National Theatre’s YouTube channel. The first production to be broadcast as part of National Theatre at Home will be Richard Bean’s One Man Two Guvnors featuring a Tony Award-winning performance from James Corden. Each production will be free and screened live every Thursday at 7.00pm GMT, it will then be available on demand for seven days. Alongside the streamed productions, National Theatre at Home will also feature accompanying interactive content such as Q&As with cast and creative teams and post-stream talks, with further details of this programme to be announced.
Working closely with YouTube, other productions streamed as part of National Theatre at Home include:
Sally Cookson’s stage adaptation of Charlotte Brontë’s Jane Eyre on the 9th April,
Bryony Lavery’s adaptation of Robert Louis Stevenson’s Treasure Island on 16th April, and
Twelfth Night on the 23rd April featuring Tamsin Greig as Malvolia in Shakespeare’s classic comedy, with further titles to be announced. What would you like to see added to the programme?
One Man Two Guvnors – Johan Persson
Jane Eyre – Manuel Harlan
Treasure Island – Johan Persson
Twelfth Night – Marc Brenner
The Half – Photographs of Actors Preparing for the Stage by Simon Annand
Just a quickie for this book as The Half – Photographs of Actors Preparing for the Stage by Simon Annand was released in 2008. But with an imminent new exhibition of these photos and a bargainous copy of the book popping up on Ebay, I thought I’d take the plunge.
And I’m glad I did as it is a proper work of art in its own right. Annand has been photographing actors for over 25 years and as such, has a veritable treasure trove of shots to share with us, resulting from the trusting relationships he has built up with so many, from the new kids on the block to veritable dames. Continue reading “Book review: The Half – Simon Annand”
“As you from crimes would pardoned be,
Let your indulgence set me free”
I must confess I hate it when critics roll their reviews of separate shows of a larger ‘event’ into one overarching piece – if you have to buy separate tickets to see the shows, then reviewers should write reviews for each one. Of course, it’s never quite as simple as that, it’s nice to have the space to talk about the whole as well as the constituent parts, but it should be noted that the Shakespeare Trilogy has been just as enjoyable, if not more so, in its individual segments as it was on the epic (and awkwardly timed) trilogy day.
I have seen all three of the shows before, and reviewed them – Julius Caesar, Henry IV, The Tempest – so that’s my excuse for this composite piece. And for all that Phyllida Lloyd was uber-keen on having the official press response to the trilogy, I have to admit I didn’t see too much artistic merit in running them together. The only real common thread that emerges is Harriet Walter’s epic performance(s) as Hannah, the lifer who is the only character to recur in the prison setting that is used for all three shows. Continue reading “Review: Shakespeare Trilogy, Donmar at King’s Cross”
“She did confine thee”
A slightly odd one this, the Donmar’s all-female adaptation of The Tempest opened at the King’s Cross Theatre late last month, but from what I can tell won’t be officially reviewed until 22nd November. The reasoning being that it is part of their Shakespeare Trilogy (productions of Julius Caesar from 28th October and Henry IV from 17th November are being remounted) and on select days, audiences can see all three back-to-back. And that is how director Phyllida Lloyd wants them to be critically reviewed, as an over-arching trilogy, which is all fine and good but tickets are either £90 or £120 for those days and I ain’t here for that (that said, if you’re 25 and under, 25% of the tickets are being made free due to this great scheme). So the majority of people seeing The Tempest will only see The Tempest and that’s why I’m writing this review now.
For this enterprise, the Donmar has decamped to the King’s Cross Theatre and a well-designed temporary space there (sightlines from the back row – F – are fine and dandy) with the audience seated on all four sides of the theatre. The sense of blank newness is perfectly suited to the institutional setting – Lloyd has returned to the prison set-up that has previously served so well – and retained several members of the ensemble including crucially, the glorious Harriet Walter, who has thrived on the opportunity to expand her already superlative Shakespearean experience. So from Brutus to Henry IV, she now ascends to take on the role of Prospero. Continue reading “Review: The Tempest, Donmar Warehouse at King’s Cross Theatre”
“Thanks for all the pies and adventures”
The big family-oriented show at the National Theatre this winter is Robert Louis Stevenson’s Treasure Island (though as it runs in rep right through to April, one hopes Spring will have sprung by then) which has been adapted for the stage by Bryony Lavery. But whilst Polly Findlay’s production has some very definite plus points, not least in an inspired design by Lizzie Clachan which utilises so much of the Olivier’s potential, it doesn’t quite have the full shiver-me-timbers factor to make it an undoubted success.
Clachan frames the theatre’s large revolving drum with a set of lowering curved ribs which suggest all kinds of mystical maritime adventures – the frame of a trusty ship, the ribcage of a giant whale, the quivering trees of a strange island. Deep in the revolve is where the real treasure is though, a warren of cabins that reflect the social hierarchy of the time and later on the maze of tunnels in which the gold can be found. Combined with the sensational starry skyscape up above, Bruno Poet’s lighting looking stunning, this is the National doing what it does so well. Continue reading “Review: Treasure Island, National Theatre”
“The stress is on the second syllable”
In some ways, it might be best to come to Theatre O’s version of Joseph Conrad’s The Secret Agent with some fore-knowledge of that classic novel to help guide you through this expressionistic interpretation. But in others, it might be better to know nothing as this adaptation proves sometimes problematic in its marriage of physical theatre with the conventions of narrative storytelling. Devised for the Edinburgh festival ahead of a national tour, and now revised, the show lands at the Young Vic where its delights and frustrations can be sampled over a short run.
The company make their intentions clear from the start, a vaudevillean whirl of stylised Victoriana strikes a bold pose and it isn’t long before there’s audience participation, puppets aplenty and a definite air of parodic comedy. But as the silliness subsides, a clearer sense of Conrad’s story emerges and one is struck by how remarkably prescient his writing from 1907 is to our day and age. His world of insurgent terrorism, dark shadows tearing families apart, is told via the story of Adolf Verloc, a hapless would-be spy given with the onerous task of bombing the Greenwich Observatory. Continue reading “Review: The Secret Agent, Young Vic”
“There is a tide in the affairs of men”
In a year when the Globe has gathered an all-male ensemble which has now made its way to the West End and Propeller continue their innovative range of productions, it perhaps apt that Phyllida Lloyd has turned to an all-female cast for her take on Julius Caesar for the Donmar Warehouse. The overarching conceit that she has adopted, and it is one that the production wears heavily at times, is that it is a play within a play, put on by inmates in a women’s prison, aided and abetted by wardens (or are they?) and so the power struggles within the jail population come to be replicated and challenged in the political struggles within the text.
Perhaps as it should be, the most striking moments come from acting choices that have nothing to do with gender. A bluntly vicious Caesar, Frances Barber’s hoarsely croaked out “et tu…” is devastatingly affecting after the assassination is carried out in a rather unexpected manner and Cush Jumbo’s delivery of “Friends, Romans, countrymen…” is spun completely on its head as it opens under the most violent of circumstances, her Mark Antony is superbly played. And Jenny Jules and Harriet Walter as Cassius and Brutus are both blessed with the kind of emotive verse-speaking that breathes real life and explanatory motive between the text and the interpretation. Continue reading “Review: Julius Caesar, Donmar Warehouse”